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“M affl ictions belong to me and my art―they have become one with me. Without illness and anxiety, I would have been a rudderless ship,” wrote Edvard Munch, acknowledging that pain and suffering fueled his creativity and guided his art. In an era gripped by world wars and a deadly fl u pandemic and shaken by Sigmund Freud and Charles Darwin, he sought to recreate his troubled childhood and his lifelong struggle with physical and mental illness. “My art is really a voluntary confession and an attempt to explain to myself my relationship with life―it is, therefore, actually a sort of egoism, but I am constantly hoping that through this I can help others achieve clarity.” Childhood trauma started at age 5, when his mother died of tuberculosis, and continued at 13 with loss of his beloved sister Sophie to the same disease. The deaths unsettled this Norwegian household already compromised by poverty. The family lived in tenement housing plagued by tuberculosis and bronchitis―scourges of the working class. The father, an underpaid medical offi cer, was “temperamentally nervous and obsessively religious― to the point of psychoneurosis.” Another sister had to be hospitalized for mental illness. A brother died. “Often I awoke in the middle of the night, gazing around the room in wild fear―was I in hell?” Munch had childhood bouts of respiratory infections, pneumonia, tuberculosis, and rheumatic fever. “I inherited two of mankind’s most frightful enemies―consumption and insanity.” After a stint as engineering student to appease his father, he enrolled in art school to study painting, “an unholy trade.” He fell in with a bohemian crowd, absorbing their philosophy for a lifetime; came under the infl uence of anarchist and nihilist Hans Jaeger, who admonished him to “write his life”; and enrolled in the Royal School of Art and Design of Christiania (now Oslo) to study under naturalist painter Christian Krohg. His early work, which experimented with various styles, was labeled “unfi nished” and was viewed with universal hostility as “impressionism carried to the extreme.” Munch did not reject any of the styles he studied at home or later in Paris, where he worked under Léon Bonnat. He used naturalism, impressionism, and linear concepts such as those in the work of Henri de Toulouse-Lautrec and Art Nouveau practitioners. Like his friends Henrik Ibsen and August Strindberg, he had a fl air for drama, which he

From My Rotting Body, Flowers Shall Grow, and I Am in Them, and That Is Eternity